Scene Summary of "Down Once More" - part 1 - 2004 movie

For those who believe, or want to, that there was more to the story...

Scene Summary of "Down Once More" - part 1 - 2004 movie

Postby honeyphan » Fri Sep 20, 2013 2:32 pm

Scene Summary of "Down Once More" (Part One)

Paragraph summary: Erik reveals his past to Christine as they both escape from the mob. For the first time she begins to understand and by his words she realizes he misunderstood her action, and starts to get through to him. Meg runs from the mob, now chasing her, Raoul is prepared for the sacrifice…and the phantom arrives on the scene ...

Erik flees with Christine down the corridors to the bowels of the opera house. This is Erik, not phantom— A), because of the song. Don Juan (king): “I will say come hide with me—where oh, where—of course, my room!” Also, because he’s calling the place hell again, (Phantom spirit wanted her to think it was wonderful) and because he’s lamenting his face. They’re about to show the Phantom spirit at work, so at this time he is absent from Erik. As they run around the corner, Christine looks back as though she hears something (probably screaming or an explosion).


Despite that she loves him, as she just proved in PONR, she is now fearful—the corridors he leads her through no longer are alluring as they once were and she looks in terror around at them as he hurries her through the dark tunnels, singing to her that he is taking her with him to his cage of darkness.


She knows he has just done something, though I’m not sure she knows what since they fell through the trapdoor before the chandelier came down, and because she knows his emotions are high, at this point she’s anxious of what will now happen. She doesn’t realize he didn’t get her message that he must let go of the phantom spirit and she probably thinks his response is showing her he won’t let go of Phantom. She doesn’t realize he thinks it’s all about his face. But as they escape, he tells her of his past, opening up to her, and for the first time she begins to understand.

ERIK: “Down once more to the dungeons of my black despair, down we plunge to the prison of my mind, down that path into darkness, deep as hell!”

Dungeons, prison and darkness associated with the mind shows that he’s saying the Phantom spirit has control of his thoughts/mind and he is a captive of it. What he says here in the translations is even more frightening.

As they run, they pass five statues of faces on the wall (in two pictures they are shown twice)—these don’t look like the gargoyles they have earlier shown, and two of them appear to be wearing a mask. I’m not sure who these are supposed to be, but one looks like Apollo, so I think maybe they are supposed to be gods. The setting—and how the walls are now suddenly carved with ancient patterns—reminds me of a king’s tomb, like in Egypt. Perhaps another king/kingdom clue. Since he talks about this being his tomb (in translations).





Erik: “Why, you ask, was I bound and chained in this cold and dismal place? Not for any mortal sin but the wickedness of my abhorrent face!”

The key word is “was”—he is relating his past to her, telling her of how and why he first came to be at the opera house. Though Erik killed the gypsy, the Phantom spirit was controlling him then, and I’m not sure he had a vivid recollection of that.

Mob: "Track down this murderer, he must be found.... track down this murderer, He must be found..."

He’s murdered before, but they never laid a hand on him at the masquerade ball, or in PONR--UNTIL he was unmasked. Then it’s as if the king lost his fear-inspiring awe to the subjects at the opera house, and became a beast to be hunted. (Much like that clue of the solar exalted and the Abyssals zone game. Once they see a solar exalted’s face and recognize he is one—they try to kill him. Just like they did here with Erik.)

Chairs burn, but no evidence of people or bodies are nearby, and I feel this is to show they all got away. The opera score—Don Juan—burns. The phantom’s plans (his opera, not the king’s) are about to be destroyed and will not come to pass.

Meg runs ahead of the others. A man grabs her arm but she breaks free, turning her head to look back as he grabs her and she pulls away from him. When they show it close, it looks like she’s running with them. But if you look carefully her face has a look of fear, while they have the look of an irate mob bent on revenge. I feel this is to show they were chasing her to catch her and force her to take them to Erik. Meg the “guardian”, hired by the king to keep the mob controlled by phantom spirit away, is now under attack and is being chased. (Also, since she’s wearing the king’s clothes, this part with the man grabbing her arm and her breaking free could be symbolic that the crowd will almost reach the king, but he, too, will get away) Since she is now on the defensive—fleeing—instead of the offensive (holding the crowd back), this also means the phantom spirit and minions again have the upper hand. And they soon show him entering the lair …

When man grabs her arm, she swings her head to look back at him and pulls away. Once she breaks free she again looks in front of her ...


ERIK: “Hounded out by everyone …

As Erik carries Christine out of the boat and sets her down, the blue line shows through his middle and hers. It cuts off abruptly—only showing through them and not the rest of background. When he moves away from gate, they show the wall—no blue line, as it should be if it was just about reflection—but it again appears on him. Another blue line clue that they ARE music, king and queen of it. That the ray of blue light is so weak could show that right now he is weak and vulnerable, his spirit and hers.


(Side note: if I didn’t like a guy and was anxious to get away from him, I would not wrap myself around him as he lifts me from a boat…) O:)


No blue on wall—very slight bit showing on him:


Blue on him again as he sets her on her feet:


ERIK: “ … Met with hatred everywhere, No kind words from anyone, no compassion anywhere! … Christine. Why, why . . .?”

Because of all that he sang before I feel this has to do with asking her why she removed his mask, especially because of what he sings in a bit. It’s almost as if he’s asking her why she turned on him too. Also, it could be him asking her why everyone treated him in such a way. The veil on the mannequin is covering the face—he is the only one who looks at it, so we see it in his POV (point of view). When a veil covers the face it symbolizes ignorance (in meaning for it)—not understanding truth—a veil conceals things. At this point Christine doesn't fully understand— and they have shown the mannequin is symbolic of Christine (important to remember) since they showed it that way twice before—us seeing her instead of mannequin through their POVs.


Switch to Raoul and M. Giry--

MME. GIRY: “Your hand at the level of your eyes ...”

RAOUL: “Your hand at the level of your eyes....”

VOICES: “Your hand at the level of your eyes....”

Three times this is sung. 3--Phantom's number.

MME GIRY: “This is as far as I dare go.”

She says this as soon as she hears the voices—which sound like sirens. (perhaps symbolic of phantom’s minions) Hearing those voices made her fear and that's why she stopped—they've shown she's now for the Light. The voices sing something else, but it’s hard to tell what. The man resembling/symbolizing Phantom spirit stared at her angrily in PONR because she had betrayed Phantom spirit and his minions, and now she's afraid to go any further upon hearing the voices. Since deep down below is their home—the Abyss—symbolic of what they showed on stage. The phantom trapped Erik in that abyss, or hell as he called it. Also notice, M. Giry’s fingers are crossed and the ring on her right hand is noticeable, perhaps to show Phantom's minions are the ones they hear. When the voices sound, both of them get a startled, worried look.


RAOUL: “Thank you.”

Raoul throws off his jacket and vest, preparing to meet the enemy. He stops and looks down—and tonight I saw something I never did before—the way they filmed this, it looks like an eye—with gold in it. “eye of gold, true is false” relates to Phantom. There are three levels—phantom’s number—and I believe all this is to show Raoul is about to enter the abyss of the Phantom spirit:


He puts his hand at the level of his eyes and falls through the trap door. As he falls they show a longshot of the grate beneath the water, and a ladder up the wall. Next shot as he’s falling there appears to be an arched opening, with what looks like a part of the blocked wall leaning in—as if to show a secret passage ... his shoes are now suddenly gone (his protection is gone. And he is not engaged in the role he should be in). Red is again showing on his left sleeve. I feel that the wound is again bleeding might be to show Phantom has marked him for sacrifice, since it was through Phantom spirit he was cut.


The grate comes down on top of him, trapping him—but is it really? Look closely at that grate. When you see his head come up for air, notice the width of those square holes. Because later you will see that at the edge, part of it is missing, and the gap looks wide enough that he could have swum through it—White light is above that wasn’t there before—perhaps encouraging him to persist and not give up. . .


Here’s an interesting pic I ran across—it appears a clue shot for HP; Raoul is pointing and looking upward (like Christine subtly points to her bare legs in comp. book picture of “I Remember”)—maybe to bring our attention to the fact that he could have escaped had he paid attention.



The Phantom spirit was not meaning to kill Raoul here.

Raoul was the sacrificial lamb as Spanish subtitles of Don Juan show. And here’s an important fact about sacrificial lambs—in the case of killing them, they must always be washed before being sacrificed. They had to be cleansed and prepared, or the sacrifice wasn’t acceptable. It was the Phantom spirit’s intent not only to cleanse the sacrifice but also to weaken Raoul. The gear was on his side—if he were to be killed at that point, Phantom would have made certain Raoul couldn’t get to that gear. The bubbles go downward instead of upward—perhaps to point to a reversal. That what is true is false—and false is the Phantom spirit, who is responsible for doing this. They also show a closeup of chain—symbolic of phantom.

As the grate goes up, the bubbles rise, and again you can see the edge missing where the ladder is—but the space looks wide enough that Raoul could have squeezed through. I feel he didn’t see it because he had turned partially from the Light. His reasons for being there had turned selfish—he had formed a rebellion to capture the king and had put Christine in danger. Light sent him for a deeper reason, also about Christine—but one that included Erik as well. Raoul's love for Christine propelled him to disobey the Light, not listen to Christine and force her into something she didn’t want to do, also trying to destroy the king rather than help him out of darkness.

Some thoughts—Raoul was able to escape the opera house fire and get out of Box 5 using a red rope that was suddenly hanging by it—Red: Erik the King’s color.
In the grate, they showed 4 squares are missing, through which Raoul could have escaped—4: Erik the King’s number.
The secret passage has red light in it—again, red being Erik’s color.


This could have been foreshadowing symbolism that at the end, Erik would regain control and let Raoul go—save him from death. That he, himself, never wanted to kill Raoul, but through phantom spirit he tried to (more soon.). By this time, I think Erik knew Raoul was his brother—he knew it in masquerade according to French subtitles, and that may be why he never drew his sword against him in the mirror chamber … the Punjab came down, but that was symbolic of the phantom … actually there were many times Erik could have killed him and didn’t.

Back to the lair …

Erik looks at the ring, but his expression is troubled, unhappy.


This could be because of what the ring represents, and what he feels he can never have—light, healing, protection. It could be that he recognizes the ring as a family ring, but my opinion only, because a carving of that same ring was on her father’s memorial plaque in chapel, I don’t feel it’s a de Chagny ring or that Raoul gave it to her. Also, because it is on her father’s plaque, and because they show it in close-ups so often—(and it disappears three times while being held/worn by two people)—I think it symbolizes something much more than just an engagement ring for the hidden story. I think it was her ring, passed down to her through her father, who was also of/for the Light.

Speaking of that plaque, someone brought up something recently that is very interesting--Ramin Karimloo, the man who played her father in movie, played Raoul in the stage play. They show his picture on the plaque--and in companion book they said he should vaguely resemble the Phantom in that picture, underlining and capping the word FATHER twice in that paragraph, the only words to be capped and underlined. So maybe this was a clue to say Erik should resemble Raoul, and another clue that they are brothers--and he does resemble him. They both have the same color hair. I'll get side by side photos soon where they are in the same lighting...


CHRISTINE: “Have you gorged yourself at last in your lust for blood? Am I now to be prey to your lust for flesh?”

Christine is wearing the wedding dress—likely Erik told her to put it on, but the fact remains, she did it. And it obviously wasn’t out of fear—because she’s not acting one bit scared. She did not fear Erik—she is angry here. Shock has worn off, and she’s picking a fight as if they’re already a married couple.

Three candles are lit to the right of screen—and in the alcove too. Phantom spirit is about to invade. They also show a glimpse of Erik’s red and gold throne—more proof that Erik is king and that it is “sweet Music’s throne.” They show the mannequin—which symbolizes Christine—and the veil is no longer over the face like it was when he first brought her there. Ignorance has left Christine and she finally begins to understand what is the root of Erik’s problem. Both the single candle lit and the mannequin represents Christine. Another sleuther and her daughter pointed out something else recently—notice the walls of this lair that contains sweet Music’s throne--they are red and green (king and queen).


ERIK: “That fate, which condemns me to wallow in blood has also denied me the joys of the flesh . . ."

He reaches out to her but she turns away from his touch—she is mad at him because of his actions—but as always, he blames her reaction on his face.

ERIK: "This face, the infection which poisons our love . . .”

He touches her hair, and she turns to look at him as he sadly sings the last, not as if to negate what he said about love, but rather as if she can’t believe he thinks their problems are all about his face. And we see proof of that in what she sings soon.

ERIK: ”This face, which earned a mother’s fear and loathing, a mask, my first unfeeling scrap of clothing. . .”


He sings to the veil, and someone once said it best—it’s as if he’s ascribing all his pain and bitterness onto it. We see Christine’s expression has changed to compassion/sympathy upon hearing of his past/childhood. Tonight is the first time he has opened up to her about himself—and she now begins to understand why he did the things he did.

ERIK: ”Pity comes too late turn around and face your fate. . .”


He forces the veil down on her head, and turns her around. We are seeing her from HIS POV. He sees her in the veil as his bride though he feels she’ll never fully love him now that she’s seen his face and that will always stand between them—because she pulled
away the mask. He still doesn’t understand that she wasn’t rejecting him, but was trying to show him he had to leave the darkness—the Phantom—and that was the only way they could be together—since he asked her to “save him and lead him from his solitude”.

ERIK: ”An eternity of THIS before your eyes. . .”


We now see the veil is absent from her head. We are seeing this from HER POV—because she’s looking at him. (Very important to remember). . .Two reasons I feel it’s missing—one, she’s not going along with what he’s saying about his face being the source of all their problems—it’s as if he just ascribed all his hurts, pain, bitterness to it, and by jamming it down on her head, it’s as if he’s telling her she must also accept his words as truth and in the Spanish subtitles of DOM he TELLS HER it is his face which she will abhor. But she doesn’t go along with what he’s saying and is not yet ready to marry him because of these circumstances. They need to get things cleared up first, and she now realizes the next step needed to free him and make him see the light. The absence of the veil shows she’s not yet ready, though her agreement to put on wedding dress shows in her heart she does want to marry him.


... again seeing her from HIS POV.

He places the ring in the center of her palm. In poetry, the inside of hand—center of palm—is symbolic of the heart. By this action he is giving her his heart and expressing his love for her, hoping for hers in return. They clearly show 11 crystals on the ring (before he puts it in her hand)—10 surrounding one larger stone—both the number 11 and the crystals themselves stand for protection, healing, and light in symbology/numerology. Because of the symbolism of ring, he is also asking her to let him always remain her guardian, her protector, and not Raoul:


He closes her fingers over the ring and holds them—symbolizing his love for eternity, as he just sang. One important thing to note: this is a close-up, which means it’s considered an important message to the viewer. Just as it’s a close-up later when she puts the ring into his left hand in the exact same way he’s doing with her here. (it’s more awkward for a right-handed person to reach for another person’s left hand—that they put the ring in each other’s left hand is significant—left meaning marriage and also being symbolic of Erik.) As he does with her here, she holds his hand later. Because of all these similarities, this gesture would have only one meaning both times—to show love for eternity and the desire to marry. They would not change the symbolism of an action, especially one that was a close-up—that breaks basic rules in the professional writing world, and the POTO writers are professionals and know their symbolism. Also, because of the symbolic meaning of crystals and the number 11, the ring is to offer protection and light. Erik has always been her guardian/protector, as she’s called him in lyrics before this.


She looks up at him, and by her look she’s probably wondering how he thinks he can offer her those things when he’s chained to darkness. She walks over to the mirror, taking off the veil and letting it drop to the ground. The veil upon which he’d placed all his woes and the blame for why his life is the way it is. He bows his head in defeat. It’s still all about choice—he wants her freely to come to him—there is no force involved here.

She pulls off the cover from the mirror (remember what I said in an earlier summary about why people covered mirrors in those days—Victorian symbolism/tradition showed it was to keep evil spirits away.) Once she pulls the cover off, they clearly show what looks like a shadow of someone’s head coming closer to her head until it is even with it. Notice there is no space between the mirrors in pictures below—(more later) in fact, one of the mirrors is leaning toward the other, touching it, and when she pulls the cover away, it ruffles the tapestry of the other one. The shadow is symbolic of and another word for Phantom—the phantom spirit has just arrived on the scene with her innocent unveiling of the mirror.

In pics below—notice how shadow behind her head is moving toward her and mirror—also notice the mirror is leaning against other one, the mirror reflection of the white light in bottom left corner, near her arm, and the lit candles in reflection. (4—Erik/ and 1—Christine—5 symbolizing them together/their relationship—as in Box 5. It is them at this point—she is getting through to him.) An arrow points to the shadow—when watching on your DVD, note how it comes into alignment with her, and then take a look in the mirror in a bit. Phantom spirit has shown up and is about to interfere.


CHRISTINE: “This haunted face holds no horror for me now...It’s in your soul that the true distortion lies.”

They just showed the shadow to show the Phantom spirit is there and the three lit candles earlier also point to that—in next half of DOM, they’ll show him. He hears what she’s singing to Erik—and he’s not one bit happy. I believe, as one of the sleuthers noted, that her words can be taken both ways. The distortion—Phantom spirit—lies to him, in his soul (emotions/feelings—from Masquerade: “You can fool any friend who ever knew you … seething shadows breathing lies…”). She’s telling him that that the distortion also resides there—by these words she is telling Erik that PHANTOM is their problem, and not Erik’s face.

Erik looks a bit startled, as if for the first time he’s finally getting it—we know she’s getting through to him because if you look in bottom left corner of mirror in pics above, they show a white circle of light identical to the large one they show during their kiss. From the expression on Erik’s face, he’s stunned to realize the truth, is listening, and would have kept listening.

In mirror’s reflection with Erik below, they show one candle lit in candelabra, another symbolic clue that she’s getting through to him. From the position he’s in—to the side and several feet away from her—realistically he shouldn’t even be reflected in the mirror which faces another direction and not toward him. see both pics below to see what I mean:


I think this is to show us that she is getting through to him, since the one-lit candle (symbolizing her) shows above his head. BUT that his soul is trapped in the mirror—(Her reflection and Raoul’s didn’t show in key moments of TOM and The Mirror scene—they weren’t trapped). Erik needs freed. He is trapped. And the mirror is the gateway to the supernatural realm (Phantom) according to superstitions/symbolism.


Erik closes his eyes, takes a shaky breath, and bows his head as if in remorse, as if finally realizing why she removed his mask on the bridge. Even as Erik now understands that it's the darkness that upsets her, and that her fears/disgust is all about Phantom, the Phantom has also heard her—they showed his shadow—and he’s now upset. Christine is again trying to bring light to Erik and bring him out of the darkness instead of doing everything Phantom ordered of her (“you will curse the day you did not do, all that the Phantom asked of you” & in the French translations it said Erik and Christine must both pay the price--chained to phantom)—but instead, she’s now showing a maturity she never has shown until tonight, and Phantom doesn’t like it a bit that the king is listening to her. Not only that but Erik is deeply affected by what she’s told him.


So now the Phantom spirit is finished playing games and is about to commence in his ultimate objective—to take over Erik and try to destroy him, and Christine’s love for him, as well as getting rid of Raoul, who no longer is of any use to him …

To be continued…


In companion book they show a picture of Christine with the veil on--and it's over her face. I feel they show this contrast to portray that the veil is very important and to watch it, since she never has the veil over her face in the entire DOM scene.

Here is a shot of her in the veil--this pic is on p. 134 of DOM scene. Again, in movie she never had the veil over her face--except when she was shown as the mannequin with a slight smile (important to remember for next scene).


This DOM scene is so much different than original film screenplay in companion that I feel we’re supposed to go with what they show in movie for hidden plot. And they do not show him pushing her down or ripping off her dress. In companion, during this entire scene that follows she was in her corset and put the dress on while Raoul and Erik watched, and he waved the ring at her from the rose to take it—again, they didn’t SHOW it this way, so I don’t feel it applies. . .I feel one reason they didn’t show it that way is that would detract from the love story between E/C, which they worked very hard to maintain through all the clues, etc. And I believe that’s why they changed scene in movie, to have no negative aspects on their relationship. I do find it interesting that in an interview when asked if we could ever see the original, the producer I think it was, said that wouldn’t be right since it is not the published version—yet that is exactly what is in book. The original, and again, I feel it’s because it shows a stronger link to Phantom spirit, shows a better look at their feelings at time, etc.

**SPANISH SUBTITLES TRANSLATIONS BY Phantommyangel & Promiseme & Co.**

Down once more to the dungeons of my black despair
Otra vez con mi negra
Once again with my black despair

Down we plunge to the prison of my mind
Nos hundimos de nuevo
En mi prisión
We plunge again into my prison

Down that path into darkness deep as hell
Mis oscuros infiernos
Vas a ver
You shall see my dark hell
another translation: My dark hell for us you are going to see

Why you ask was I bound and chained in this cold and dismal place?
Si no entiendes por qué
Estoy confinado, has de saber
If you don't understand why I am confined, you should know

Not for any mortal sin but the wickedness of my abhorrent face!
Que no es por ningún pecado
Es mi rostro, que vas a aborrecer
That it is not because of any sin; It is my face, which you will detest

from honey: interesting; he is telling her she will hate him for his face; he does the same with the veil, as if forcing her to believe the lines he’s been fed…what the phantom had deceived him into believing—that she won’t be able to stand him because of his face since his mother didn’t, etc.

Track down this murderer, he must be found
¡Al asesino ya hay
Que encontrar!
To the killer one already it has that to find

Hounded out by everyone
Preso como un animal
Imprisoned like an animal

Met with hatred everywhere
Acosado por doquier
Harrassed everywhere

No kind words from anyone
Triste y sólo siempre igual
Sad and alone, it's always the same

No compassion anywhere
¿Cuál es mi razón de ser?
Which is my reason of being (to live)?

Christine…why, why
Christine… ¿Cuál?… ¿Cuál?…
Which? Which?

from honey: so sad; asking of all he’s just told her, which of those is the reason he lives

Madame Giry: Your hand at the level of your eyes
Mantén esas manos bien atrás
Keep those hands well behind you

Raoul: Level of your eyes
Estas manos bien atrás
These hands well behind you

Voices: Level of your eyes
Mantén esas manos bien atrás
Keep those hands well behind you

From honey—behind, not in front of—interesting. Perhaps meaning don’t interfere with phantom spirit or minions, just get Christine away from the mob.

Mme.Giry: This is as far as I dare go
Hasta aquí es donde me atrevo a llegar.
Up to here is where I dare to arrive.

Thank you.

Christine: Have you gorged yourself at last in your lust blood?
Esa immensa
Sed de sangre
¿Ya se sació?
Are you satisfied at last with that immense thirst for blood you have?

Am I now to be prey to your lust for flesh?
Sed de carne
Además tú tendrás tal vez
Perhaps you will also have a thirst for flesh

That fate, which condemns me to wallow in blood
Mi sino es odiarme
Y ya se cumplió
I already hate myself and it has been carried out
another translation: My destiny is to hate myself and already itself fulfilled

from honey: he hates himself for the things he does while under Phantom's power, he’s telling her she can’t make him hate himself more—but the plans have been carried out—It's done and he can't change them.

Has also denied me the joys of the flesh....
Ėl vino a negarme
De todo el placer
He came to deny me of all pleasure

Another clue that Phantom spirit is controlling him—The “he” he refers to is the Phantom spirit—Erik is saying that since he's come into his life, he's been allowed no pleasure

This face the infection, which poisons our love
Semblante infecto
Que me envenenó
This infected face which poisoned me

This face, which earned a mother's fear and loathing
Mi faz cruel
Rechazo de una madre
My cruel face earned a mother's rejection

A mask, my first unfeeling scrap of clothing
Que me cubrió
Con máscaras la carne
Which covered the flesh with masks

Again, it's all about his face, about how even his mother turned from him--and he's blaming his face for his reliance on the Phantom

Pity comes too late
Ya no hay comapsión
No longer is there compassion

Turn around and face your fate
no seré más tu bufón
I won't be your buffoon (fool) anymore

An eternitity of THIS before your eyes
Es tu eterna maldición
Mi flor llorar
It is your eternal curse
my flower to cry

from honey: He won't be kind anymore, or play the fool as he’s been doing regarding her-- (reminds me of Il Muto). Now she will always have to look upon him, and he sees that as a curse that will make her (“my flower”—his rose; she is symbolic of the rose and he thinks of her as one) weep with the horror of her plight. Again, all about his face.

Christine: This haunted face holds no horror for me now...
Tu odiada faz
No es tu gran deformidad
Your hated face is not your great deformity...

It's in your soul that the true distortion lies...
En tu alma està
Y ésa es toda la verdad
In your soul …(?) And this is all of the truth

from honey: What is true there is what is false--Phantom spirit. So "all of the truth" is that his great deformity is the darkness that rules him.


Erik:Down once more to the dungeons of my black despair
De nouveau
Je te plonge dans mon désespoir!
Again I plunge you into my despair!

Down we plunge to the prison of my mind
De nouveau tu me suis dans ma prison,
Again you follow me into my prison,

Down that path into darkness deep as hell!
Dans ce bagne où sans trêve
L’âme est seule!
Into this prison where without truce the soul is alone!

from honey: “without truce”—there is no peace in this war he has with phantom--both as an ally and against phantom himself

[/i]Why you ask was I bound and chained in this cold and dismal place? [/i]
Voudrais-tu découvrir pourquoi
Je me cache dans cette cage?
Would you like to discover why I hide in this cage?

Not for any mortal sin but the wickedness of my abhorrent face!
Non pour un péché mortel,
Mais pour la terreur qu’inspire mon visage!
Not for a mortal sin, But for the terror which my face inspires!

Mob: Track down this murderer he must be found
Traquons ce meurtrier,
Il faut l’avoir.
Hunt down this murderer, He must have it.

Erik: Hounded out by everyone
Poursuivi par tout le monde!
Pursued by all the world!

Met with hatred everywhere!
Détesté de toute part!
Hated out of any share!

No kind words from anyone!
Sans jamais un mot gentil!
Without never a kind word!

No compassion anywhere
Sans jamais le moindre égard!
Without never the least consideration!

M. Giry: Your hand at the level of your eyes
La main à la hauteur du regard …
The hand at the height of the glance...

From honey—this makes it look like it’s more about his face then a rope coming from behind.

Voices: at the level of your eyes…
à la hauteur du regard …
at the height of the glance...

M. Giry: this is as far as I dare go
Je n’ose pas aller plus loin.
I do not dare go further.

Raoul: Thank you.
Thank you

Christine: Have you gorged yourself at last in your lust for blood?
As-tu rassasié enfin
Ton désir de sang?
Did you finally satisfy your desire of blood?

Am I now to be prey to your lust for flesh?
Dois-je donc satisfaire
Ton désir de chair fraîche?
Must I thus satisfy your desire of fresh flesh?

Erik: That fate that condemns me to wallow in blood
Le sort qui me somme
De verser le sang,
The fate which summons me to pour the blood,

From honey—if he’s “summoned”—then someone is calling him to do it—making him do it. This could be a clue that the phantom spirit forces him

Has also denied me the joys of the flesh
M’éloigne aussi, crois-moi,
Du giron des femmes.
Takes away from me also, believe me, any bosom of the women

This face the infection which poisons our love
Cette face, qui empêche,
Qui broie notre amour …
This face, which holds back, which crushes our love...

This face which earned a mother’s fear and loathing
Cette face, qu’une mère a
Trouvée haïssable …
This face, that a mother has found hateful...

A mask my first unfeeling scrap of clothing
Un masque,
Première étoffe impitoyable …
A mask, first heartless fabric...

Pity comes too late
Pitié, n’aie pas honte!
Pity, do not have shame!

Turn around and face your fate
Tourne-toi et rends-toi compte:
Turn yourself and look you count:
Turn yourself and go count on

from honey—count as in tally

An eternity of this before your eyes
Une éternité t’attend
De ce faciès!
An eternity that awaits you with this features (face)!

Christine: This haunted face holds no horror for me now
Ces tristes traits
N’ont plus rien de répugnant.
These sad features have nothing any more of being repugnant to.
Another translation: These sad traits no longer make me reluctant.

It’s in your soul that the true distortion lies
C’est dans ton âme
Que je lis la vraie détresse …
It is in your heart that I read the true distress...

**ITALIAN TRANSLATIONS by Angelofdarknss & Co.**

Down once more to the dungeons of my black despair
Tornerai nella cella della mia follia!
You will return to the cell of my madness

Down we plunge to the prison of my mind
Scenderai nell'abisso che c'è in me
You will descend into the abyss that there is in me

From honey: The abyss inside him relates to Phantom

Down that path into darkness deep as hell
Dove mai via d'uscita c'è per te!
Where there is no way of escape for you!

Why you ask was I bound and chained in this cold and dismal place?
Not for any mortal sin but the wickedness of my abhorrent face!
Se non sai cosa mi gettò … nell'angoscia sempre più … non guardare dentro me … guarda il volto della mia deformità!
If you do not know what threw me increasingly in anguish don’t look inside me
Look at the face of my deformity!

Folla (Mob): Track down this murderer he must be found …track down this murderer he must be found
Per quel carnefice non c'è pietà! … Prendiamo il demone non ha pietà!
For that executioner(hangman) there is no mercy! … We will catch the demon he has no mercy!

From honey: Executioner & demon relates to the Phantom spirit. Executioner being another king/kingdom clue. (Every king had his executioner who took orders from him). But Phantom worked through the king, so the mob only saw Erik cut the rope. Also, the Phantom spirit/minions is leading them in their hunt (a picture of that coming soon), so is probably lying to them too.

Hounded out by everyone
Mai non ebbi libertà,
I never had freedom,

Met with hatred everywhere
male e odio intorno a me...
Pain and hatred around me…

No kind words from anyone
chi provò per me pietà?
Who felt pity for me?

No compassion anywhere
Dimmi il mostro qui chi è?
Tell me who is the monster here?

From honey: This makes it much clearer that he is lamenting his life to her

Christine, why…? Why?
Christine, perché...?

Mme. Giry: Your hand at the level of your eyes
Lo sai, alza il braccio o sono guai
You know, raise your arm or there are troubles

RAOUL e voci: At the level of your eyes
Alza il braccio o sono guai...
Raise the arm or there are troubles…

Christine: Have you gorged yourself at last in your lust for blood?
Si placò in te la sete di sangue ormai?
Is it appeased in you the thirst of bloodlust now?

Am I now to be prey to your lust for flesh?
Placherai qui con me le altre brame che hai?
Will you relieve here with me the other desires(longings) you have?

Fantasma: That fate which condemned me to wallow in blood
Non placo la febbre che è dentro di me...
I don’t relieve the fever that is inside of me…

Has also denied me the joys of the flesh
carnali richiami che io non vivrò!
Sensual recollections that I may not experience!

This face the infection which poisons our love
La vista avvelena l'amore fra noi...
The sight poisons the love between us…

This face which earned
Fissai, guardai
I gazed at, watched

A mother’s fear and loathing
l'orrore di mia madre
The horror of my mother

A mask, my first unfeeling scrap of clothing
Su me posò la maschera più infame
She placed on me the most infamous mask

Pity comes too late
Più non c'è pietà!
There is no more mercy!

Turn around and meet your fate
guarda qui che vita avrai:
Look here what life you will have:
another translation: He watches here what life you will have

An eternity of this before your eyes!
un'eterna oscurità percorrerai!
An eternal(never-ending) darkness you will embrace!
another translation: An eternal(never-ending) darkness you will walk!

from honey: He’s telling her she must now always live with him in the darkness.

Christine: This haunted face holds no horror for me now
E' dentro te quella tua deformità...
It is within you that deformity…

It’s in your soul that the true distortion lies
Il volto tuo non mi turba più ormai
Your face does not bother me anymore


MOTN until Phantom tells Christine about why he’s there
Unique when in front of the dress
”I Remember” when Mme Giry and Raoul are in the secret passage
WHYBMH--song to cemetery--when Raoul falls in the water, ending with “I Remember”
MOTN when Phantom sings of mother’s loathing
”But in his eyes all the sadness of the world” from “Raoul I’ve Been There” when Christine sings about his face holding no horror now
Unique during Raoul’s arrival

In the movie, they broke away from song to speak lines they had sung in the play—sometimes speaking for only a few lines. Here is the connecting link I’ve found with the spoken word—

sung: "No kind words from anyone, no compassion anywhere." spoken: “Christine, why. ..why!” (said by and about Angel of Music—him questioning her, both of them Angel of Music)

**MUSICAL ANALYSIS by Phantom’s Star**

Harp: thinking Note: I think this is what the sounds stand for.
Flute: a calling
of Angel (Angel of Music)
Cymbals: Angel is there, or near (brush of cymbals)—loud crash—he is fully there.


1.)Brushing of cymbals (not big though)

Down once more to the dungeons of my black despair (after the words “Down once more”)
Down we plunge to the prison of my mind (after “mind)
Deep as hell (on “hell”)
Why you asked was I bound and chained (on “Why”)
Hounded out by everyone (on “out”)

Angel (Erik) is there but still relying on the Phantom (or will be). He’s recounting what the Phantom has made him believe which makes him still rely on it (as we later see).

2.)Flute – as Raoul looks down the stairs, we hear the flute. I think Angel, not Christine, would be calling to Raoul because Angel hoped Raoul would come (or you could say Phantom wanted Raoul to come). (from honey—I also believe it was phantom calling out to Raoul, enticing him forward)

Link to “Down Once More" (Part 2) - click to read

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